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"Estamos sumidos": Reading, hearing ...

Barrera, Magdalena L.

"Estamos sumidos": Reading, hearing and seeing Mexican America, 1910--1941.

Record Type:	Electronic resources : Monograph/item
Title/Author:	"Estamos sumidos": Reading, hearing and seeing Mexican America, 1910--1941.
Author:	Barrera, Magdalena L.
Description:	188 p.
Notes:	Adviser: Ramon Saldivar.
Notes:	Source: Dissertation Abstracts International, Volume: 66-11, Section: A, page: 4069.
Contained By:	Dissertation Abstracts International66-11A.
Subject:	American Studies.
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3197408
ISBN:	9780542431050

"Estamos sumidos": Reading, hearing and seeing Mexican America, 1910--1941.
Barrera, Magdalena L.

"Estamos sumidos": Reading, hearing and seeing Mexican America, 1910--1941. - 188 p.

Adviser: Ramon Saldivar.

Thesis (Ph.D.)--Stanford University, 2006.

In my exploration of gendered, ethnic identities, I argue that encounters with consumer culture radically challenged the perceived social realities of Mexicans in the United States. Chapter One examines the chronicles of Jorge Ulica and Daniel Venegas, two exiled journalists who, I claim, saw Mexican women's consumptive power as an insurmountable threat to the masculine homosocial bonding that they hoped would keep Mexican culture intact in the US. In Chapter Two, I turn to popular music of the 1930s to hear the voice of the Mexican American working class. I contend that the music and lyrics of "domestic drama" reflect Mexican communities' ambivalence towards women entering the workforce and the material transformations that ensues in Mexican homes. Finally, in Chapter Three, I examine documentary and personal photography to literally picture the Mexican immigrants that are at the heart of my project. I propose that because photographs of Mexicans are absent from the national imaginary of the 1930s, Mexican immigrants have been critically erased from American social memory and, therefore, from an understanding of how their presence in the US has shaped "American" identity.

ISBN: 9780542431050Subjects--Topical Terms:

212409
American Studies.

"Estamos sumidos": Reading, hearing and seeing Mexican America, 1910--1941.
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245 1 0 $a "Estamos sumidos": Reading, hearing and seeing Mexican America, 1910--1941.
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502 $a Thesis (Ph.D.)--Stanford University, 2006.
520 # $a In my exploration of gendered, ethnic identities, I argue that encounters with consumer culture radically challenged the perceived social realities of Mexicans in the United States. Chapter One examines the chronicles of Jorge Ulica and Daniel Venegas, two exiled journalists who, I claim, saw Mexican women's consumptive power as an insurmountable threat to the masculine homosocial bonding that they hoped would keep Mexican culture intact in the US. In Chapter Two, I turn to popular music of the 1930s to hear the voice of the Mexican American working class. I contend that the music and lyrics of "domestic drama" reflect Mexican communities' ambivalence towards women entering the workforce and the material transformations that ensues in Mexican homes. Finally, in Chapter Three, I examine documentary and personal photography to literally picture the Mexican immigrants that are at the heart of my project. I propose that because photographs of Mexicans are absent from the national imaginary of the 1930s, Mexican immigrants have been critically erased from American social memory and, therefore, from an understanding of how their presence in the US has shaped "American" identity.
520 # $a Located at the intersection of literary studies and cultural history, my dissertation traces representations of Mexican immigrants in a wide variety of American cultural production, including Spanish-language newspaper chronicles; corridos and other ballads; and documentary and personal photography. These texts were produced in the wake of the Mexican Revolution, when over 1.5 million Mexicans arrived in the United States. Because these immigrants were largely poor and illiterate, there appears to be a lack of first-hand sources by which to understand how they experienced cultural transitions. I argue however, that they did leave behind a rich archive of material: the newspapers they read, the music they produced, and the photographs that they took (and that were taken of them). I demonstrate that cultural production has the ability to both reflect and shape how people understood the emergence of a "Mexican American" ethnic identity. In addition, I reveal the ways in which ethnicity is performed not only in textual representations, but also through their very production.
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